Flashcards

ARTH101 Final Exam

Hannah Wolf Arts English 35 cards

Cards in this deck (35)

1—Christ as the Good Sheherd,
(Early Christian)
-Catacombs of Saints Peter and Marcellinus
-Early 4th Century
-cubicula
2—Abraham on the Plains of Mamre
(Early Christian)
- @ Santa Maria Maggiore
-Continuous Narrative (figure appears multiple times in one work to tell a story)
-shows Abraham (120) on the plains where he met the three strangers, asks them to come to his house and serves them food, and asking sarah to prepare the food also, three strangers tell
-three strangers pre-figure the trinity
-food with three strangers prefigures the last supper
-roman painting and mosaic style
3—Sarcophagus of Junius Bassus
(Early Christian)
-359
-compartmentalized
-Junius Bassus was a Roman official
-classical reminisce (collonnade) and borrowing greek architectural mode with entabulature
-alternating between arched openings and triangular pediments
-Sacrifice of Isaac, Christ before Pilate, and , adam and eve, Pilate washing his hands are just a few of the scenes
-filled with religious imagery and symbolism
-3D figures
-stylized and distorted proportions (sub-antique)
4—The Second Coming
@ San Vitale, Ravenna, 547 (Byzantine)
-rhythmic quality of byzantine aesthetics
-mathematical approach to beauty (symmetry and eurthmos (rhythmic movement and proportion)
-Distorted perspective
-christ in the center with a halo and seated on the orb of the world
-Shifting from narrative to a symbolic scene
-elongated to lengthen and distort proportions
5—Abraham and the Strangers on the Plains of Mamre and Sacrifice of Isaace,
(BYzantine)
-San Vitale
-rhythmic quality of byzantine aesthetics
-mathematical approach to beauty (symmetry and eurthmos (rhythmic movement and proportion)
-Distorted perspective
-
6—Crucifixion
(Byzantine)
-CHurch of Daphni, 1080-1100
-symmetrical
-human-like suffering expression on christ
-skull represents Adam's skull
-figures are flat but much more humanlike than they had been in early byzantine styles
7—Sutton Hoo Purse Lid
(Migration Period)
-Hiberno-saxon
-Before 655
-Cloisonne
-entrelac
- predatory animals on the lid which originated in Mesopotamia
8—St. Matthew from the Book of Durrow
(Migration Period)
675
9—Carpet Page from Lindisfarne Gospel
(Migration Period, Hiberno-Saxon)
700
-Scriptoria
-entrelac
-incorporates celtic elements like the spiral and the trumpet pattern
-
10—St. Matthew from Lindisfarne Gospel
(Migration Period, HIberno-Saxon)
-Stylized, flat drapery and figures
-not referencing human figure
-distorted proportion
-bold, unnatural colors
-likely a copy of codex amiantus
-people believed that these books were magical and could preform miracles
11—Initial, Book of Kells
(Migration Period, Hiberno-Saxon)
-Iona
AD 800
- examples of celtic swirl, interlace (ribbon and animal)
-from the book of Matthew
-range of pigments used in the creation
12—Jelling Stone
(Migration Period)
AD 965
-King Harald Bluetooth of Denmark
-Parents Gorm and Thyra
-Rune = ancient viking language
-stylized depiction of crucified christ
-official embrace of christianity by denmark and norway
-"birth certificate of norway"
-very geometricized and stylized
13—St Matthew
(Carolingian)
-Coronation Gospels, Gospel Book of Charlemagne 800-810
-Ink, tempera, on vellum
-Palace school
14—St Matthew
(Carolingian)
Gospel Book of the Archbishop
-Ebbo of Reims
-816-835
Reims School
15—Codex Aureus St Emmeram, 870
(Carolingian)
-Palace School
-Charles the Bald
- Instead of a box, decorative and protective book covers
-ornamental and decorative
-portable sign of wealth
-christ in majesty in the center
-beginning of telling the story of christs life
-mandorla = almond shape that he is compartmentalized
-hammered gold, repousser technique
16—St Michael's at Hildesheim
(Ottoian)
1001-1031
-Tower groupings from Carolingian period
-two transcept arms
-lateral entries
-rounded head windows
-blind arcades
-crossing square
-alternating support system = alternating between piers and columns that creates rhythm and mirrors crossing square
-
17—Gero Crucifix
(Ottoian)
969-976
- greater sense of emotion, christ appears like a suffering human
- somewhat stylized in the abdomen
-
18—St Sernin of Toulouse
(Romanesque)
Cluniac Burgundian Style
-Vaulted ceilings for fire and acoustics
-Romanesque (monumental, harmonious proportions, geometric relationships of parts, interior matches exterior)
-square schematism
19—Reliquary from St Foy
(Romanesque)
-Late 10th early 11th century
- stolen from a church in Agen
-More relics would attract more pilgrims to this pilgrim church
-Hammered gold, encrusted with jewels
-Believed to have had miraculous powers of healing
20—St Etienne,
(Romanesque)
Caen
1067
-large symmetrical monument
-tripartite facade
-square schematism (geometric trend of romanesque) apparent in 9 squares on facade
-ribbed groin vault ( 2 intersected tunnel vaults)
-rounded arches unlike gothic pointed arches
-buttresses divide the facade
21—Durham Cathedral
(Romanesque)
1093
Anglo-Norman
-dedicated to Saint Cuthbert
-square schematism in emphatic crossing square
-compound pier, column
-7 part apse
-chevron ,spiral and lozenge designs on columns, highly decorated
-molded designs of arches
22—San Minato al Monte,
(Romanesque)
Tuscan
1090 (facade)
-White marble
-Strong influence from classical antiquity with reminisce to Greek temple front
-Less sculptural exterior
-lively geometric pattern instead
-timber roofed instead of stone vaulting
-stone diaphragam arching
-intricate patterns =cosmati work (cosmati family continued the tradition of intricate geometric design with multiple colored stones)
23—Christ In Majesty
(Romanesque)
Bernardus Gelduinus
1096
- Christ is seated in a mandorla
-surrounded by four animals of the apocalypse
-Inscribing means pax vobis ="peace be with you"
-hammered out of metal
-romanesque compartmentalizing
24—St Pierre Tympanum
- @ Moissac
(Romanesque)
1115-1135
-Flat linear drapery, plate-like
-Distorted proportions to fit in compartment
-Christ in the center with four apostles
-24 music making elders compartmentalized
-derived from Book of Revelations
-sea of glass is symbolized by waving line
-faces very expressive especially when compared to flat drapery
25—St. Lazare
(Romanesque)
Artist = Gislebertus (possibly, most likely)
1120-1135
-book in library at St. Lazare that was believed to have been written by Lazarus which described his experience when he was dead
-expressive faces of figures who have been dammed, waiting judgement, and souls being weighed
-compartmentalized figures
26—Mission of the Apostles
Vezelay
12th Century
- Central christ telling disciples to go out preach, heal, save and condemn
-scenes at the edge show disciples preaching, healing, saving
-compartmentalized and distorted proportions to fit in compartments
27—St Denis,
(Early Gothic)
-Abulatory Facade
1140-1144
-asymmetrical
-when remodeled it opened up the church a lot to unify the space
-ribbed groin vaults
-combined pointed arches that are supported with ribbed groin vaults that allows for greater height and greater light with lancet windows
28—Laon Cathedral
(Early Gothic)
1160-1205
- Golden section = 1:1.61
-Tripartite facade (three part)
-Deeply recessed portals and sculptural treatment
-Rose window
Tv-Ribbed vault, six part vaults
-Greater single unified space than in Romanesque period
-Oxen sculptures in the tower relates to the faith of those who donated and supported the building of the church (tribute to all oxen that pulled the stone into town)
-strong sense of verticality
-80 feet tall vaults at the crown
-four part nave wall
-flying buttresses were added later (more typical with High Gothic style), non-functional
-dedicated to seven liberal arts
29—Chartes Cathedral
(High Gothic)
1145-1170
1220
-West facade
-Due to fires in 1020, 1134, 1194 this church was finally reconstructed in High Gothic style
-Piliers Cantonnes (compound piers) instead of classical columns with collonettes that continue up for vertical movement
-Fluid internal movement for unity
-High Gothic = greater emphasis on veticality
-transcept arms to unify interiors
-Four part vault
-Functional buttresses and flying buttresses which allows for thinner and lighter walls to achieve greater height
30—Amien Cathedral
(High Gothic)
1220-36(nave)
1247(radiating chapels), and 1270 (choir)
-As we move into high gothic, we allow for more windows to let in more light
-Architects are Robert de Luzarches, Thomas de Cormont, and Renaud De Cormont
-Transcept arms are even shorter
-Pilier Cantonne
-Unified space, emphasis on verticality, uninteruppted vertical movement
-144 foot at crown of vault
-Constructed on the site of St. Fermin church, continued to hold church at St. Fermon
-deeply recessed portals to create sculptural quality
31—St Chappelle
(Rayonnant Gothic)
1243-48
-Rayonnen = radiate light, associated with the reign of Louis IX
-Thomas de Cormont and Pierre de Montreuil (St. Chappelle)
-Had crown of thorns, sponge, and iron as relics
-Relics were very important to these churches because people thought they had miraculous powers
-75% of St. Chappelle is stained glass
-ornate and delicate tracery
-Rib groin vaults
32—Center Christ in Majesty
@ Chartes
West Portals
(Early Gothic)
Ascension of christ and virgin and christ on two other portals
- Four apostles surrounding Christ in their animal symbols
-Greater sense of hope and salvation in religion during the Gothic period
-Less compartmentalized
-Figures are more 3D
-More naturalistic than in Romanesque space
33—Beau Dieu (Beautiful God)
(gothic)
@ Amien Cathedral
- Drapery, gesture and pos is naturalistic
-Face is classicized
-Seems indepdent of architecture as we move to high gothic style
-Christ is trampling death and evil
34—Virgin of Paris
(gothic)
@ Notre Dame
Early 14th Century
- exemplified artistocratic style that became popular during high gothic
-S curve, matched by drapery and moves the eye to the baby
-Flor de Lis which is associated with ruling class
-Elongated neck and petite face
-Mary Queen of Heaven
-elegance
-Humanize and secularize the subject by giving her a crown
35—Annunciation, Visitation
(High Gothic)
Reims Cathedral
1225-45
- Gabriel coming to Mary
-Visitation = Mary going to her cousin Elizabeth who is pregnant with John the Baptist and Elizabeth's baby jumps to recognize christ
-Independent of architecture
-3 different artists because styles are inconsistent
-Gabriel (late high gothic, last to be carved)(aristocratic mannerism with elongated neck, S curve, elegance when compared with classical figures)
-Amien master carved Mary
-Classical master carved visitation figures with phidian wet drapery and realism in face of Elizabeth